Celebrity photographer Connor Mead _MATTHEW McCONAUGHEY_ loves

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					       Celebrity photographer Connor Mead (MATTHEW McCONAUGHEY) loves
freedom, fun and women…in that order. A committed bachelor with a no-strings policy,
he thinks nothing of breaking up with multiple women on a conference call while prepping
his next date.
       Connor’s brother Paul is more the romantic type. In fact, he’s about to be married.
Unfortunately, on the eve of the big event, Connor’s mockery of romance proves a real
buzz-kill for Paul, the wedding party and a houseful of well wishers—including Connor’s
childhood friend Jenny (JENNIFER GARNER), the one woman in his life who has always
seemed immune to his considerable charm.
       Just when it looks like Connor may single-handedly ruin the wedding, he gets a
wake-up call from the ghost of his late Uncle Wayne (MICHAEL DOUGLAS), the hard-
partying, legendary ladies man upon whose exploits Connor has modeled his lifestyle.
Uncle Wayne has an urgent message for his protégé, which he delivers through the ghosts
of Connor’s jilted girlfriends—past, present and future—who take him on a revealing and
hilarious odyssey through a lifetime of failed relationships.
       Together, they will discover what turned Connor into such a shameless player and
whether he has a second chance to find – and this time, keep – the love of his life.
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       New Line Cinema presents a Jon Shestack/Panther Production of a Mark Waters
Film: Matthew McConaughey and Jennifer Garner in the romantic comedy “Ghosts of
Girlfriends Past.” The film also stars Breckin Meyer, Lacey Chabert, Robert Forster, Anne
Archer, Emma Stone and Michael Douglas.
       “Ghosts of Girlfriends Past” is directed by Mark Waters from a script by Jon Lucas
& Scott Moore, and produced by Jon Shestack and Brad Epstein. Executive producers are
Marcus Viscidi, Mark Waters, Jessica Tuchinsky, Toby Emmerich, Cale Boyter and
Samuel J. Brown, with Ginny Brewer as co-producer. The creative team includes director
of photography Daryn Okada, production designer Cary White, editor Bruce Green and
costume designer Denise Wingate. Music is by Rolfe Kent. Executive music producer is
Ralph Sall.
       “Ghosts of Girlfriends Past” will be distributed by Warner Bros. Pictures, a Warner
Bros. Entertainment Company.      It is rated by the MPAA PG-13 for sexual content
throughout, some language and a drug reference.
                         www.ghostsofgirlfriendspastmovie.com




                 For downloadable general information and photos for
          “Ghosts of Girlfriends Past,” please visit: http://press.warnerbros.com
                                                                                          3


                 Probably Not the Best Man to Pick As Your “Best Man,”
                              Even If He Is Your Only Brother


       The last place on earth anyone would expect to find Connor Mead would be at a
wedding. More to the point, that last place would certainly be his own wedding, although
it’s tough enough to imagine him overcoming his allergy to matrimony long enough to
attend anyone else’s big day. But this is different. It’s his brother’s wedding, and for
Paulie’s sake alone Connor is willing to make the trek from his high-style New York City
life to the Newport, Rhode Island home of his childhood, where the ceremony is scheduled
to take place at their late Uncle Wayne’s lavish estate.
       Connor is expecting to be a little uncomfortable with the festivities, but that’s OK;
it’s just one weekend. What he is not expecting is how he will feel when he comes face to
face with his former flame Jenny Perotti (Jennifer Garner).
        “Connor is used to being the confident guy, charming and funny, kind of edgy and
always at the top of his game. He’s really not out to hurt anyone, he just wants to have a
good time. But he’s also a guy who has lost his way and doesn’t know it. He’s been
playing this role so long he doesn’t even realize that in the end it’s a lonely path,” says
Matthew McConaughey, who stars as the story’s perennial bachelor.
       “Seeing Jenny again would be his first clue,” suggests director Mark Waters.
       Beautiful, smart and self-assured, Jenny could have been the best thing that ever
happened to Connor… if he hadn’t walked out on her years ago. Now the maid of honor,
she is all business when it comes to her ex, determined that nothing—and no one—will
mar this special occasion, and that means putting Connor on notice in case he’s planning
anything that would take the focus off the happy couple.
       “Having experienced the Connor Mead treatment, Jenny has no patience for him,”
states Jennifer Garner. “They were best friends as kids and really meant something to each
other, then reconnected and dated as adults but, by then, he was well on his way to
becoming a world-class playboy and totally disappointed her. He nearly ruined her faith in
men. When they are reunited at the house there are definitely sparks flying but not
necessarily the good kind.”
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       Waters views Jenny as “a combination of the girl next door and the one who got
away, with a touch of something else that Connor can’t quite pin down. There’s a rich
history between them and the sense that Jenny knows Connor in a way that no other
woman ever will. For all her disappointment in what he has become, she knows the real
Connor is better than that; consequently she calls him on his games and puts him in his
place. Matthew and Jennifer really tap into that sparring rhythm and that undercurrent of
competition that’s a carryover from Connor’s and Jenny’s childhood together.”
       “Jenny is the kind of woman we all hope to have in our lives, someone who sees us
for who we really are and can bring out the best in us,” says producer Jon Shestack, who
credits Garner with giving Jenny “the vulnerability and intelligence that conveys, despite
her sharp words, the sadness she feels for Connor and how empty his life has become.
While it would be difficult to convince anyone who knows him that Connor Mead does, in
fact, have an essential sweetness, deep-down, Jenny believes he does and she continues to
look for it, despite everything he does to prove her wrong.”
       But that sweetness, if it’s still there, is buried mighty deep.
       On the evening of the rehearsal dinner, Connor is pressed into delivering a toast.
Out of his element, rattled by the sight of Jenny, feeling hemmed in by a house full of
white tulle and flowers and emboldened by too many trips to the bar, he spews forth a
predictable but no less appalling speech denouncing marriage and everything it stands for.
He then beats a hasty retreat in typical Connor fashion before anyone at the table can take a
swing at him—the top contenders being the bride-to-be, her father, Jenny, and possibly
even Paul, who is beginning to rethink his brother’s invitation.
       While it’s anyone’s guess as to how much of that rhetoric Connor truly believes, or
why, producer Brad Epstein notes, “For all his popularity and success, he is completely
shut down emotionally. Afraid of love. He could have the greatest thing in the world in
front of him but he’s not going to see it. He can’t see the forest through the trees.”
       Adds Waters, hinting of the action ahead, “Here’s a guy who is blissfully unaware
of the vacuous nature of his existence and in dire need of a cosmic wake-up call. In that
respect, ‘Ghosts of Girlfriends Past’ is more than a romantic comedy. It’s kind of a
magical comeuppance romantic comedy.”
                                                                                          5

       If Connor has any hope of a meaningful future, he’ll need to relive the past. But
it’s going to be a bumpy ride. And he’s going to need some special help.


                   Pay Attention, Kid. I Came a Long Way to Be Here.


       Escaping the ire of the wedding party for the peace and privacy of the guest
bathroom, Conner is grateful for a minute to himself. He needs to take a breath and
recalibrate his cool. This weekend is going to be tougher than he imagined.
       Suddenly, between the sink and the…facilities, stands the ghost of Uncle Wayne.
       The idol of Connor’s formative years, Wayne still looks as sharp as ever, if a little
outdated. Portrayed by Michael Douglas, he is still the epitome of the fast-living playboy
of a certain swinging era—complete with velvet jacket and artfully tied ascot at his open
collar, not to mention the indoor shades and the requisite scotch and cigar.
       Says Waters, “Michael Douglas struck the perfect note, giving the ol’ scoundrel the
kind of swagger that owns a room and a charm that makes you think he could get away
with doing or saying pretty much anything. Wayne is a sentimental throwback; the eternal
player, eternally cool. I felt Michael could make him likeable, just as I felt that Matthew
could make Connor likeable even though they’re two of the most politically incorrect roles
in recent memory. They let you see the heart underneath. Although, I think in Wayne’s
case you’d have to look especially hard.”
       Of course, Uncle Wayne is no longer the life of the party. He’s been dead for five
years. But he is crashing this wedding at his old bachelor pad in spirit form because he has
a very important message for his #1 nephew, the boy who so admired him that he
dedicated himself to being exactly like him. It’s a message Connor would never expect
and doesn’t particularly want to hear: “Don’t waste your life the way I did, kid.”
       Douglas explains. “Uncle Wayne taught Connor everything bad he ever learned
about relationships, which was, essentially, not to care for any woman, to just have a good
time and move on. It was the way Wayne conducted his own life, but, at the time, it was
also intended to protect Connor from getting his heart broken.
        “Seeing Wayne now,” Douglas continues, “you get the sense that he didn’t really
want to end up the way he did. He realizes the mistakes he made in his life and is trying to
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save Connor from repeating them.” Consequently, he’s trying to effect some retroactive
parenting with this last-ditch effort to point him in a better direction. But he’s going to
need some powerful help, and he’s smart enough to enlist that help in a form to which
Connor is most likely to pay attention: female.
        Previewing the tumultuous hours ahead, Uncle Wayne warns Connor that he is
about to be dragged through the romantic wreckage of his life by the spirits of the women
who know him best, representing his girlfriends of the past, the present and the potentially
terrifying future, to see if he can earn a second chance at finding—and keeping—the love
of his life.


               What If You Could Relive Your Past, Listen In On the Present,
                                 and Change the Future?


        First up, fresh out of the 1980s, with her denim-and-lace ensemble and hair out to
there, is 16-year-old Allison Vandermeersh, aka The Ghost of Girlfriends Past, played by
Emma Stone. She whisks Conner back in time to when he was an earnest, sweet boy who
wore his heart on his sleeve and called Jenny Perotti his best friend. Together, Allison and
the adult Connor revisit the humiliation of a very significant junior high slow-dance and
then skid through one wrong turn after another that put him on the road to becoming the
infamous Connor Mead.
        Cast on the strength of her comical but touching performance in “Superbad,” Stone
enjoyed pulling out all the stops as Allison, whom she calls “a firecracker. Allison is
essentially a kind of hallucination, permanently stuck in the exact moment when she first
crossed paths with Connor, meaning she’s still in that crazy 16-year-old state and very
excitable.”
        Next, to shine a light on more recent events, is Connor’s assistant Melanie, played
by Noureen DeWulf. Though technically not a girlfriend, Melanie appears as The Ghost of
Girlfriends Present by virtue of the fact that she’s the only consistent relationship Connor
currently has with a woman.        Says DeWulf, “She’s not exactly thrilled with the
assignment. He already works her way too much and now she has to freelance for him on
the weekend as a ghost? It’s so typical.” The upside for Melanie is that during these
                                                                                             7

sequences their working relationship is reversed so that she’s the boss. She takes the
weary but increasingly self-aware bachelor through the walls of some New York City
apartments to see what really happens on the other end of the phone after he says goodbye.
       But the scariest, by far, is The Ghost of Girlfriends Future, a silent ethereal beauty
played by Olga Maliouk, who offers Connor a glimpse into what his life will become if he
continues to reject real love.
       “The ghost element was a great device for introducing the time traveling, and it
really opened up the storytelling potential,” says McConaughey, who literally threw
himself into the slapstick possibilities of some of his scenes. “There’s more freedom when
you step outside the real world, there’s more room for playfulness and, in a weird way,
honesty. Mark and I kept finding new ways to work with it.”
       As for the logistics of what Waters calls “Ghost Rules,” that’s a question he has
considered before, having negotiated the romance between a man and a ghostly woman in
the 2005 comedy “Just Like Heaven.” “Sometimes actors will be concerned about details
like whether or not seat cushions should visibly depress when they’re supposed to be
sitting and my response is, ‘It doesn’t matter. It’s Ghost Rules.’ I feel that once the
audience accepts the theatrical conceit that there are characters in play that cannot be seen
or heard by everyone, they understand what you’re doing and they go with it. With a story
like this, it’s not about the effects; it’s about Connor’s journey and his being present in all
these revealing scenarios.”
        “In his initial ghost encounters, Connor is trying to be seen and to stop things from
happening but he’s powerless. Then, gradually, he stops trying to affect things physically
because he realizes it’s not only useless, it’s dangerous and painful,” says McConaughey.
       It also makes for moments of delicious counterpoint, notes the director, as when
Connor is forced to witness a sweet scene unfold between Jenny and her unexpected new
suitor Brad, in the Mead Mansion kitchen. “It’s like two different stories running
simultaneously. On the one hand, it’s a classic romantic scene being played out by Jenny
and Brad as they get to know each other, but at the same time there’s the disembodied
Connor standing by, thinking ‘this is a nightmare, I’m bringing them together.’”
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       Garner agrees. “Connor is having a different experience than the rest of the
wedding guests. We’re just at this weekend celebration wondering what’s wrong with him
and he keeps getting crazier and crazier as the movie goes on.”


                                    The Wedding Party


       In contrast to Connor and Jenny, Paul and his fiancée Sandra are the picture-perfect
couple, “a match made in heaven,” says Breckin Meyer, who stars as the groom-to-be.
“Paul is made for monogamy. He believes in love. He really wants to be with Sandra for
the rest of his life. As it turns out, the only family he has on his guest list is Connor, and
that’s the one person who really shouldn’t be at a wedding.”
       “Paul provides an interesting contrast to Connor. Initially, he’s the heart to
Connor’s lothario. At first glance they appear to have nothing in common but their
similarities and their connection as brothers emerge as the story develops,” suggests
screenwriter Jon Lucas, whose credits with writing partner Scott Moore include the holiday
hit “Four Christmases” and the upcoming comedy “The Hangover.”
        “It’s a hint of Connor’s humanity and potential when you see how much he loves
his brother,” adds Moore. “If he’s capable of committing to that wholeheartedly and if
someone as decent as Paul supports him, well, maybe he’s not such a lost cause.”
       But it’s not easy. Paul steadfastly defends his brother’s behavior for as long as he
can and then reaches a point where he can’t justify it a minute longer. As Meyer
inventories the damage, “Connor can’t stop sniping about marriage, he destroys the cake,
he flirts with Paul’s future mother-in-law, and he even lets certain information slip out that
could very well call off the wedding.”
       If Paul’s damage control skills are strained to the breaking point with Connor, his
general keeping-the-peace skills are equally challenged by trying to prevent Sandra from
having a meltdown before she walks down the aisle.
       “Mean Girls” alum Lacey Chabert, who stars as Sandra, claims “She’s not teetering
on the brink of Bridezilla for the sake of being difficult. She’s really a nice girl, just
emotional and under pressure. She’s been planning this wedding since she was four years
                                                                                           9

old and wants everything to be perfect. For Paul’s sake, she’s glad his only brother can be
there, but from the instant Connor arrives she knows he’s going to be trouble.”
       In Sandra’s corner is Sarge—Sergeant Major Volkom, U.S. Marine Corps, Retired,
that is, portrayed by Robert Forster. Not only is he the father of the bride, he is also
officiating as minister at 15:30 hours. Not a man to mess with. Meyer quips, “A father-in-
law you have to respect is one thing; a father-in-law you have to salute is terrifying.”
       “The Sarge is incredibly soft and sweet with his little Sandra, but you know he’s
prepared to break Connor’s neck if he goes too far,” Waters attests. “All it takes is a look
from Forster and you know what he’s thinking… and it’s not good.”
       The actor, best known for his dramatic work, relished the opportunity to create
some fun with Sarge, whom he describes as “a hard case ex-military who is now an
ordained minister. He has a huge stake in this wedding. When Connor comes in and
raises a ruckus he goes into battle mode because once you’re a soldier you’re always a
soldier and when you’re a dad you’ll do anything to keep your daughter from harm.”
       Starring as Sarge’s former better half, Vonda, is Anne Archer. Dressed to impress
and fully liberated, Vonda has a provocatively frank exchange at the bar with Connor in
which she reveals a certain empathy for his views on “antiquated” social customs like
marriage—with one vital exception. Unlike Connor, she acknowledges the value of love.
       Says Archer, “She’s definitely a femme fatale, the kind of woman who feels sexy at
any age, which is something you still don’t see very often in films and is really refreshing.
Nothing stuffy or old-fashioned about this mother-of-the-bride. She’s intelligent and has a
wicked sense of humor. She’s wise about life and isn’t there to censor anyone else.”
       Though Sandra’s wedding brings Vonda and Sarge together for the first time since
their divorce, the question remains as to whether or not the pair will put aside their no-
speaking policy long enough to share in their daughter’s happiness.
       Rounding out the main cast is Daniel Sunjata (“The Devil Wears Prada”) as the
eminently eligible Brad, a perfect anti-Connor type whom Sandra hopes to match with
Jenny; plus Camille Guaty (TV’s “Las Vegas”), Rachel Boston (TV’s “The Ex List”) and
Amanda Walsh (TV’s “Sons & Daughters”) who keep up a lively pace as bridesmaids
Donna, Deena and Denice, eager for some action to get their money’s worth out of all
those pre-wedding spa treatments.
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       Singer-songwriter and actress Christina Milian (“Love Don’t Cost a Thing”) helps
to establish Connor’s persona in the film’s opening scenes by appearing as Kalia, one of
his high-profile clients who follows up her photo shoot with some personal re-touching.


               The Mead Mansion: Hugh Hefner Meets Martha Stewart


       “Mark had something very specific in mind for the site of Paul and Sandra’s
wedding,” says production designer Cary White, logging his sixth collaboration with the
director on “Ghosts of Girlfriends Past.” The two considered a lot of real estate before
settling upon what was to became the Mead Mansion.
       The home’s interior needed to reflect two distinct themes, meant to coexist rather
than clash. “We had this old playboy pad as our baseline,” White says, referring to the
sumptuous wood paneling, multiple bars, animal print upholstery and details like the
headboard in Connor’s bedroom prominently featuring Wayne’s masculine WM
monogram. “On top of that, we layered fancy, color-coordinated wedding decoration.”
       To Connor’s palpable disgust, the house is dressed to within an inch of its life with
billows of tulle, clusters of white flowers and candles infusing the air with the bride’s
signature scent: lavender. That ought to scare away any lingering cigar smoke.
       “Outside, Mark wanted to capture the Newport sensibility, a Gatsby-esque mansion
with columns and statues,” the designer explains, “which proved to be a challenging quest
given that production was based in Boston and surrounding areas. The architecture of
stately homes in that area all had an English Great House look, so we ended up grafting a
façade onto an existing mansion in Ipswich known as the Crane Castle.”
       Crane Castle provided the exteriors and some interiors of Uncle Wayne’s old haunt.
Built by architect David Adler in 1928 for the Crane family, the 59-room Stuart-style
mansion is now a National Historic Landmark in Massachusetts.             Films fans may
recognize it as the site of devilish mayhem in “The Witches of Eastwick” and as the
imposing home in “Flowers in the Attic.”
       “Ghosts of Girlfriends Past” filmed inside the Great House and utilized its rear
patio, embellished with fake columns and entablature. White also temporarily installed a
circular driveway and statuary over an existing lawn. Altogether, the filmmakers’
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modifications to the property progressed a number of refurbishment projects the Trustees
had already begun, including new paint and glazing and repairs to several outer walls.
        Other interiors, including the library and ballroom, were created at what White calls
“a derelict mansion in Wellesley that was in really bad shape. But the way it was laid out
visually was perfect for shooting and the majority of the film was shot there. Seven
possible entrances open to the foot of the staircase and make lots of entrances and exits
possible. We had to completely renovate those rooms but it was absolutely worth it.”
Combining portions of these two existing structures plus bedroom and bathroom sets
constructed on soundstages completed the Mead Mansion.
        Practical locations representing Connor’s world in New York City in flashback
sequences included popular downtown Boston restaurants Sonsie and Les Zygomates, and
Connor’s photography studio was created from a completely empty space off Channel
Center Street in South Boston. Famed Boston nightclub FELT stood in for one of the
story’s unique set pieces known as the Infinity Bar, an “All That Jazz” homage during
which, Waters says, “Connor is surrounded in a surreal spin by every woman he has ever
known, as the bar extends endlessly in every direction.”
        Production also employed the Martha-Mary Chapel in Sudbury, Massachusetts, as
well as approximately 90 Sudbury residents to appear as wedding guests.
        “We’re in the city, the country, the past, the present and the future; we have spirits,
players, beautiful women, love, comedy, a wild chase, and everything has a luxurious, rich
look. It’s the way you want movies to look, which is like the real world only better and
shinier and prettier,” says Shestack.
        With settings as grand as the Mead Mansion, Waters aimed “to put the story in a
context of great expansiveness so it doesn’t play like an intimate family drama. Audiences
first see Connor in the high-ceiling spaces of his office loft and then, shortly after, arriving
at Uncle Wayne’s place, where his car is dwarfed in the driveway by a house that fills the
screen and you get the feeling that something epic could happen here this weekend. It’s a
big story about big emotions and we wanted to give the performances enough space to fill
and to play it at that level.”
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                                  ABOUT THE CAST


       MATTHEW McCONAUGHEY (Connor Mead) was most recently seen in the
ensemble cast of Ben Stiller’s hit action comedy “Tropic Thunder.” Earlier in 2008, he
headlined opposite Kate Hudson in “Fool’s Gold,” for director Andy Tennant. He also
produced and starred in “Surfer, Dude” a comedy that featured music from his own j.k.
livin recording artist Mishka.
       In 2007, McConaughey portrayed real-life college football coach Jack Lengyel
in the critically acclaimed drama “We Are Marshall,” the inspiring story of a small West
Virginia town’s struggle with devastating loss.
       Previously, he starred in the action adventure comedy “Sahara,” with Penelope
Cruz and Steve Zahn. He earned a People’s Choice Award for his role in the film, which
opened at the top of the weekend box office and marked the first major motion picture
produced by his production company, j.k. livin productions. McConaughey followed with
a starring role opposite Al Pacino in the drama “Two for the Money” before closing 2005
as People Magazine’s “Sexiest Man Alive.”
       His film credits include the popular romantic comedies “Failure to Launch,” with
Sarah Jessica Parker, and “How to Lose a Guy in 10 Days,” opposite Kate Hudson; the sci-
fi adventure “Reign of Fire,” with Christian Bale; the ensemble drama “Thirteen
Conversations About One Thing”; the horror thriller “Frailty,” written and directed by Bill
Paxton; and Adam Shankman’s hit romantic comedy “The Wedding Planner,” opposite
Jennifer Lopez.
       McConaughey also starred in the World War II action drama “U-571,” Ron
Howard’s “EDtv,” Steven Spielberg’s “Amistad,” Robert Zemeckis’s “Contact” and Joel
Schumacher’s critically acclaimed courtroom drama “A Time to Kill,” as well as “Lone
Star,” “Angels in the Outfield” and Richard Linklater’s “Dazed and Confused.”
       McConaughey’s production company, j.k. livin, executive produced the feature
documentary “Hands on a Hard Body,” and is currently in development on numerous
projects with various studios and production companies.
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       JENNIFER GARNER (Jenny Perotti) is a Golden Globe, Screen Actors Guild
(SAG) and People’s Choice Award-winning actress for her performance in “Alias.”
Additionally, over the course of the show’s five-season run, Garner was nominated four
times for an Emmy Award, four times for a Golden Globe and twice for a SAG Award® for
her portrayal of CIA double agent Sydney Bristow.
       Among her upcoming feature film projects, she will be starring opposite writer-
director Ricky Gervais in the comedy “This Side of the Truth,” rounding out an all-star
ensemble cast that includes Rob Lowe, Jonah Hill, Jason Bateman, Christopher Guest and
Tina Fey. The film is slated for release in 2010.
       Garner was most recently seen in the Academy Award®-nominated film “Juno,”
which won an abundance of awards, including a Broadcast Film Critics Association and
Independent Spirit Award for Best Comedy and Best Feature Film, respectively.
       On stage, she received rave reviews for her recent performance as Roxanne in the
2007 Broadway revival of “Cyrano de Bergerac” opposite Kevin Kline.
       In 2005 Garner started her own production company with her personal assistant of
many years, Juliana Janes. The company, Vandalia Films, is named after the original
name for the state of West Virginia, Garner’s home state. Vandalia Films has five projects
currently in development: “Be With You“; “Arranged”; “Sabbatical”; “Devil in the Junior
League”; and “3 Days in Europe,” with Hugh Jackman and John Palermo of Seed
Productions.
       Garner’s film credits include “The Kingdom,” “Catch and Release,” “13 Going on
30,” the blockbuster hit “Daredevil” and its spin-off “Elektra,” “Pearl Harbor” and the
comedy “Dude, Where’s My Car?” Additionally, she serves as a brand ambassador for
Neutrogena, featured in its national television and print campaigns.
       A volunteer for numerous charitable organizations, Garner is an advocate for the
Elizabeth Glaser Pediatric AIDS Foundation and is also tied to the National Breast Cancer
Foundation and Women’s Cancer Research Fund. Last summer, she dedicated her time to
the Children’s Defense Fund and victims of Hurricane Katrina.
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       BRECKIN MEYER (Paul) has constantly delivered memorable performances in
films such as “Road Trip,” “GO,” “Clueless,” “Blue State,” “The Insider,” both “Garfield”
movies, “Rat Race,” “54,” “Kate & Leopold,” “Prefontaine,” “Can’t Hardly Wait” and
“The Craft,” among others.
       He recently earned a 2009 Annie Award and a 2008 Emmy Award nomination as a
writer on Cartoon Network’s popular animated comedy “Robot Chicken,” for which he
also voices several characters.
       Meyer has also lent his voice to the animated series “King of the Hill” for the past 8
seasons in the role of Joseph Gribble. He recently guest starred on “Heroes” and “House.”
         Also an accomplished musician, Meyer drums for Tom Morello’s solo project The
Night Watchmen.


       LACEY CHABERT (Sandra) is best known for her role as Claudia on the Golden
Globe Award-winning FOX television series “Party of Five.”
       Chabert received outstanding reviews and an MTV Movie Award for her role in the
box office hit “Mean Girls,” for director Mark Waters. She also starred as Anjelica
Huston’s daughter in “Daddy Day Care” and as Brooke Ellison in Christopher Reeve’s
final directorial project, “The Brooke Ellison Story,” for A&E.
       She most recently starred opposite Gena Rowlands in “What If God Were the Sun,”
for Lifetime.
        Originally from Purvis, Mississippi, Chabert got her big break on the Broadway
stage playing young Cosette in “Les Misérables.”        In 1998, she made her feature film
debut as Penny Robinson in “Lost in Space.” On television, Chabert has appeared in “All
My Children” as well as several made-for-TV movies, including “Gypsy,” starring Bette
Midler, and “A Little Piece of Heaven,” with Cloris Leachman.
       She has also voiced numerous animated films and TV shows, including “The Wild
Thornberrys.”


       ROBERT FORSTER (Sergeant Volkom) earned accolades and a 1998 Academy
Award® nomination for his landmark performance as Max Cherry in Quentin Tarantino’s
“Jackie Brown,” a role that re-invigorated a career he considered to be in its second act.
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       He subsequently appeared in numerous film and television projects from studio to
independent productions, most recent among them the thriller “Firewall,” opposite
Harrison Ford; “D-War”; “Lucky Number Sleven”; “Wild Seven”; Wes Craven’s
“Cursed”; “Grand Theft Parsons,” starring Johnny Knoxville; “Confidence”; “Like Mike”;
and “Charlie’s Angels 2: Full Throttle.” He again won accolades nationwide for his work
in David Mamet’s “Lakeboat,” directed by Joe Mantegna, and “Diamond Men,” with
Donnie Wahlberg.
       Forster has also been active on the small screen, with a guest arc of nine episodes
on NBC’s “Heroes” last season; the CBS telefilm “The Hunt for the BTK Killer”; guest-
starring roles on Showtime’s “Huff,” ESPN’s “Tilt” and McG’s “Fastlane”; and a starring
role alongside Carla Gugino in the ABC series “Karen Sisco.” He co-starred in the HBO
Films production “Undefeated,” directed by and starring John Leguizamo, the USA film
“Murder in Greenwich” and the CBS telefilm “Like Mother, Like Son: The Strange Story
of Sante and Kenny Kimes,” with Mary Tyler Moore.
       Additionally, Forster starred in the independent films “Outside Ozona,” “Family
Tree,” “The Magic of Marciano,” with Nastassja Kinski, and “It’s the Rage,” with an all-
star ensemble including Joan Allen, Gary Sinise and Andre Braugher, as well as the sci-fi
feature “Supernova,” co-starring Angela Basset and James Spader, the updated version of
“Psycho,” directed by Gus Van Sant, and a television version of “Rear Window,” for
Christopher Reeve. He also starred in “Roads to Riches,” with Rose McGowan, a modern-
day film noir, and the present-day western “Lone Hero.”
       Forster’s career spans more than 40 years, encompassing film, television and stage
work. A native of Rochester, New York, he began acting in local theater, moving to New
York City in 1964, where he made his professional debut in the two-character Broadway
production of “Mrs. Dally Has a Lover.” Other stage credits include productions of “A
Streetcar Named Desire,” “The Glass Menagerie,” “Twelve Angry Men,” “The Sea Horse”
and “One Flew Over the Cuckoo’s Nest.”
       He made his feature film debut in l966, in “Reflections in a Golden Eye,” directed
by John Huston and co-starring Marlon Brando and Elizabeth Taylor. He followed this in
l968 with the seminal film “Medium Cool,” for director Haskell Wexler, and a number of
television roles, including one in the noir series “Banyon,” and has been working
                                                                                          16

consistently ever since. Among his earlier standout performances were roles in “The Don
is Dead,” “Stunts,” “Avalanche,” “Alligator” and “Delta Force.”
        In 1997, British director Paul Chart created the role of Dr. Jake Nyman in the
thriller “American Perfekt” for Forster, after carefully following his career. The film also
stars Amanda Plummer, David Thewlis and Paul Sorvino.
        Additionally, Forster records audio books, including the best-seller Hit Man and
Elmore Leonard’s Mr. Paradise, and delivers his speaking program, INTERACTING: a
stand-up act of positive stories, jokes, life lessons and guiding principles which he
developed during the self-described “sliding second act” of his career, intended to raise any
job to the level of an art form.


        ANNE ARCHER (Vonda Volkom) was nominated for an Academy Award®, a
Golden Globe and a BAFTA Award for her role opposite Michael Douglas in Adrian
Lyne’s thriller “Fatal Attraction.” She is also well known for her poignant Golden Globe-
winning performance in the ensemble cast of Robert Altman’s “Short Cuts” and for
playing Harrison Ford’s beleaguered wife in “Patriot Games” and “Clear and Present
Danger.”
        Archer has starred on screen with some of Hollywood’s most dynamic and
respected leading men, including Gene Hackman in “Narrow Margin,” Donald Sutherland
in “Eminent Domain,” Sylvester Stallone in “Paradise Alley” and Tommy Lee Jones in
“Man of the House.” Most recently, she starred in the feature crime drama “Felon,”
alongside Val Kilmer, Stephen Dorff and Sam Shepard, for director Ric Roman Waugh.
        On television, Archer can currently be seen on the CW Network’s dramatic series
“Privileged” as Laurel Limoges, the founder of an international cosmetics empire. She
also appeared in one season of “It’s Always Sunny in Philadelphia,” starring opposite
Danny DeVito, and had a recurring role in “Ghost Whisperer” on CBS as the mother of
Jennifer Love Hewitt’s character.
        Archer also devotes her time to the organization she founded in 2006, Artists for
Human Rights (AFHR), which brings artists together with the common cause of raising
awareness of human rights around the world.
                                                                                         17

       EMMA STONE (Allison Vandermeersh) is currently in production on the horror
comedy “Zombieland,” starring opposite Woody Harrelson, for director Ruben Fleischer.
The film is slated for release in October 2009.
       Most recently, she wrapped the independent drama “Paper Man,” with Jeff Daniels,
Ryan Reynolds and Lisa Kudrow, for writing-directing team Kieran and Michele
Mulroney.
       Stone’s feature film credits include the recent hit comedy “The House Bunny” and
“The Rocker,” but she is perhaps best known for her portrayal of Jonah Hill’s love interest
in the 2007 Judd Apatow hit comedy “Superbad.”
       For television, Stone appeared on the Fox Network’s action drama series “Drive”
and VH-1’s “In Search of the Partridge Family.” She also had guest-starring roles on such
popular series as “Malcolm in the Middle,” “Medium,” “Lucky Louie” and “The Suite Life
of Zach and Cody.”

       MICHAEL DOUGLAS (Uncle Wayne) is an award-winning actor and producer
with a career spanning more than 40 years and encompassing theatre, film, and television.
He was already a successful actor when he branched out into independent feature
production in 1975 with the Academy Award®-winning “One Flew Over the Cuckoo’s
Nest.” He has since been involved in a long list of influential and popular films, including
his Oscar®-winning role for Best Actor in “Wall Street.”
       Born in New Jersey, the son of Kirk and Diana Douglas, he earned his B.A. from
the University of California, Santa Barbara. Moving to New York, he studied at the
American Place Theatre and at the Neighborhood Playhouse.
       His first big break was a pivotal role in the CBS Playhouse 1969 production of
Ellen M. Violett’s drama “The Experiment.” That led to leading roles in “Hail, Hero!,”
“Adam at 6 AM,” “Summertree” and “Napoleon and Samantha.” Between films, he
returned to the stage in summer stock and off-Broadway productions.
       In 1972, Douglas was cast as Karl Malden’s partner in the drama series “The
Streets of San Francisco,” which became one of ABC’s top-rated programs. Douglas
earned three consecutive Emmy Award nominations for his role, and also directed two
episodes of the series.
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       Long interested in producing a film version of Ken Kesey’s novel One Flew Over
the Cuckoo’s Nest, Douglas purchased the movie rights from his father. He partnered with
Saul Zaentz to produce the film, which is one of only three movies ever to sweep the
Oscars® for Best Picture, Best Director, Best Screenplay, Best Actor and Best Actress.
       Douglas next produced the prophetic 1979 hit “The China Syndrome,” in which he
also starred with Jane Fonda and Jack Lemmon, who both received Academy Award®
nominations. The film was also Oscar®-nominated for Best Screenplay. Douglas also
starred in Michael Crichton’s “Coma,” Claudia Weill’s “It’s My Turn,” Peter Hyams’ “The
Star Chamber,” and “Running.”
       In 1984, Douglas produced the smash hit romantic action comedy “Romancing the
Stone,” in which he also starred with Kathleen Turner and Danny DeVito under the
direction of Robert Zemeckis.       Douglas was also an executive producer on John
Carpenter’s “Starman,” a 1984 holiday season hit. The following year, he reunited with
Turner and DeVito in “The Jewel of the Nile,” the sequel to “Romancing the Stone.” He
also starred in Richard Attenborough’s 1985 film version of “A Chorus Line.”
       Douglas went on to star in two of the biggest hits of 1987, beginning with “Fatal
Attraction,” opposite Glenn Close.     He then starred in Oliver Stone’s “Wall Street,”
winning an Oscar® and a Golden Globe Award for his portrayal of Gordon Gekko, who
uttered the immortal line “Greed is good.” Douglas went on to star in Ridley Scott’s
“Black Rain” before re-teaming with Turner and DeVito in “The War of the Roses.”
       In 1992, Douglas starred with Sharon Stone in Paul Verhoeven’s memorable erotic
thriller “Basic Instinct,” which was one of the year’s top-grossing films. The next year, he
delivered a powerful performance in Joel Schumacher’s drama “Falling Down.” Over the
next five years, Douglas also starred in Barry Levinson’s “Disclosure,” opposite Demi
Moore; Rob Reiner’s “The American President,” opposite Annette Bening; “The Ghost
and the Darkness,” which he also executive produced; David Fincher’s “The Game,” with
Sean Penn; and “A Perfect Murder,” with Gwyneth Paltrow.
       During the 1990s, Douglas also served as a producer or executive producer on such
films as Joel Schumacher’s “Flatliners,” Richard Donner’s “Radio Flyer,” Richard
Benjamin’s “Made in America,” John Woo’s “Face/Off,” and Francis Ford Coppola’s
“The Rainmaker,” based on the John Grisham novel.
                                                                                         19

       In 2000, Douglas starred in Curtis Hanson’s “Wonder Boys,” for which he received
Golden Globe and BAFTA Award nominations. In addition, he shared in a Screen Actors
Guild Award® nomination as part of the ensemble cast of Steven Soderbergh’s award-
winning drama “Traffic.” He also produced and starred in the 2001 comedy “One Night at
McCool’s.” In 2002, Douglas made a rare guest appearance on the hit series “Will &
Grace,” earning an Emmy Award nomination for his performance.
       The following year, Douglas shared the big screen with his father for the first time,
in “It Runs in the Family,” which also co-starred his mother, Diana, and son, Cameron.
Douglas’s recent film acting credits also include the political thriller “The Sentinel,” the
comedy “You, Me and Dupree,” and the independent film “King of California,” which
premiered at the 2007 Sundance Film Festival. He most recently appeared in “Beyond a
Reasonable Doubt,” directed by Peter Hyams, and starred opposite Susan Sarandon, Danny
DeVito, Mary-Louise Parker and Jenna Fischer in “Solitary Man,” directed by Brian
Koppelman and David Levien and produced by Steven Soderbergh and Paul Schiff.
       In July 1998, Douglas was named a Messenger of Peace for the United Nations by
Secretary General Kofi Annan. In 2004, he was honored with the Cecil B. DeMille Award
from the Hollywood Foreign Press Association. Douglas will be this year’s recipient of
the AFI Lifetime Achievement Award in June.
       Douglas is married to actress Catherine Zeta-Jones and they have a son, Dylan, and
a daughter, Carys. Douglas has a son, Cameron, from a former marriage.




                             ABOUT THE FILMMAKERS


       MARK WATERS (Director/Executive Producer), a graduate of the directing
program at the American Film Institute, made his feature film directorial debut on the dark
comedy indie hit “The House of Yes.” The film premiered at the 1997 Sundance Film
Festival, where Parker Posey won a Special Jury Prize for her performance.
       Waters’ next projects were the romantic comedy “Head Over Heels” and the VH-
1 original movie “Warning: Parental Advisory.”
                                                                                        20

       He then scored with the back-to-back hit comedies “Freaky Friday” and “Mean
Girls.” “Freaky Friday,” starring Jamie Lee Curtis and Lindsay Lohan, earned a 2004
Critic's Choice Award nomination for Best Family Film and brought a Golden Globe
Award nomination to Jamie Lee Curtis. “Mean Girls,” written by Tina Fey and based on
the Rosalind Wiseman book Queen Bees and Wannabees, became one of the most talked-
about films of the year and won three MTV Movie Awards, including one for Lindsay
Lohan as Best Actress.
       Waters followed in 2005 with the fantasy comedy romance “Just Like Heaven,”
starring Reese Witherspoon and Mark Ruffalo. Last year he directed the acclaimed family
adventure “The Spiderwick Chronicles,” adapted from the popular children’s book series,
and, following “Ghosts of Girlfriends Past,” he directed the FOX television pilot “Eva
Adams.”
       Waters also recently served as a producer on “500 Days of Summer,” starring
Joseph Gordon-Levitt and Zooey Deschanel. The offbeat romantic comedy premiered to
acclaim at the Sundance Film Festival and is slated for a July 2009 release.


       JON SHESTACK (Producer) has been a Hollywood producer for more than two
decades. His most recent release was “Dan in Real Life,” starring Steve Carell and Juliette
Binoche, with director Peter Hedges.
       He is currently in production on the feature animated adventure “Escape from
Planet Earth,” written and directed by Tony Leech and scheduled for a 2009 release.
Among his projects in active development are “Boss Go Home,” scripted by Matt Nix, and
“The Third Testament,” by Michael Gordon.
       Shestack’s producing credits include “Firewall,” starring Harrison Ford, for
director Richard Loncraine; the Rob McKittrick comedy “Waiting”; the thrillers “Soul
Survivors” and “Disturbing Behavior”; Wolfgang Petersen’s acclaimed drama “Air Force
One,” starring Harrison Ford, Glenn Close and Gary Oldman; and John Dahl’s crime
drama “The Last Seduction.”
       He and his wife, Patricia Iverson, founded Cure Autism Now in 1995. His efforts
were critical in getting both the Children’s Health Act of 2000 and Combating Autism Act
                                                                                        21

of 2006 passed into law. Shestack continues to be successful producer while advocating
for autism.


       BRAD EPSTEIN (Producer) is a prolific Hollywood producer with more than two
decades of solid feature film production experience to his credit.
       Epstein currently produces under his three-year overall deal with Buena Vista
Motion Picture Group. His relationship with Disney was first as a senior level studio
executive, having spent the last half decade as the Senior Vice President of Production for
Disney’s Buena Vista Studios, where he had direct involvement in such high profile
releases as “Confessions of a Teenaged Drama Queen,” starring Lindsay Lohan; “Ladder
49,” starring Joaquin Phoenix and John Travolta; and “Invincible,” starring Mark
Wahlberg.
       Prior to joining Disney, Epstein oversaw production at Robert De Niro’s Tribeca
Productions, working on such films as “Wag the Dog,” “Analyze This” and “Meet the
Parents.”     Additionally, he served as an executive producer on the NBC miniseries
“Witness to the Mob” and Showtime’s “Holiday Heart,” and co-created and oversaw the
London musical “We Will Rock You,” based on the international sensation rock band
Queen. He spent three years as a producer at Longview Entertainment, after working as a
production vice president at both Renny Harlin’s and Wendy Finerman’s production
companies.
      More recently, Epstein was a producer on the features “About a Boy,” starring Hugh
Grant, and “Dan in Real Life,” starring Steve Carell and Juliette Binoche.
       He is also the COO and co-owner of the Bellator Fighting Championships, a
professional mixed martial arts competition that debuted in April on ESPN Deportes and
will be broadcast internationally.
       Epstein is a graduate of Emerson College with a BA in Communication.


       JON LUCAS & SCOTT MOORE (Screenwriters) most recently teamed on the
hit holiday comedy “Four Christmases,” starring Vince Vaughn and Reese Witherspoon.
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       Among their upcoming projects is the “The Hangover” for director Todd Phillips,
starring Bradley Cooper, Ed Helms, Zach Galifianakis, Heather Graham, Justin Bartha and
Jeffrey Tambor, set for a June 2009 release.

       MARCUS VISCIDI (Executive Producer) recently produced the political thriller
“Rendition,” starring Reese Witherspoon, Jake Gyllenhaal and Meryl Streep; and “Pride
and Glory,” starring Edward Norton, Colin Farrell and Jon Voight.
       Previously, he produced “The Last Kiss,” starring Zach Braff; “Shopgirl,” the
adaptation of Steve Martin’s novel, starring Martin and Claire Danes; and “Wicker Park,”
starring Josh Hartnett. He served as executive producer on William Friedkin’s “The
Hunted,” starring Tommy Lee Jones and Benicio Del Toro, and on Richard Linklater’s
“Bad News Bears,” starring Billy Bob Thornton.
       Viscidi earned a 1996 Independent Spirit Award nomination for producing Tom
DiCillo’s award-winning independent film “Living in Oblivion,” starring Steve Buscemi,
and went on to collaborate with DiCillo on his films “The Real Blonde,” “Double
Whammy” and “Box of Moonlight,” starring John Turturro and Sam Rockwell. His
additional feature producing credits include John Schlesinger’s “The Next Best Thing,”
starring Madonna and Rupert Everett; “Mad Love,” starring Drew Barrymore and Chris
O’Donnell; Horton Foote’s “Courtship”; Daniel Petrie’s “Rocket Gibraltar,” starring Burt
Lancaster; “Signs of Life,” starring Vincent D’Onofrio; and “Lemon Sky,” the film
adaptation of Lanford Wilson’s play, which won the Special Jury Prize at the Sundance
Film Festival.
       For television, Viscidi’s producing credits include the American Playhouse
production of Katherine Anne Porter’s “Noon Wine” and Eudora Welty’s “The Wide Net,”
as well as the film adaptation of Keith Reddin’s off-Broadway play “Big Time.” In 1998,
he produced the Tony Award-nominated Broadway production of “Honour,” starring Jane
Alexander and Laura Linney.
       He is currently producing “Perfect Scandal,” an adaptation of Edith Wharton’s
novel Mother’s Recompense.
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       JESSICA TUCHINSKY (Executive Producer) spent fifteen years as an agent at
Creative Artists Agency (CAA) before partnering with her director client Mark Waters to
form Watermark Pictures.
       “500 Days of Summer,” Watermark Pictures’ first produced film, stars Joseph
Gordon-Levitt and Zooey Deschanel and is directed by Marc Webb.              The picture
premiered at the Sundance Film Festival to exceptional notices and is scheduled for a
summer 2009 release.
       While a motion picture agent at CAA, Tuchinsky represented Uma Thurman, Bill
Murray, Scott Silver, Steve Kloves and many others.            She attended The George
Washington University and moved to Los Angeles the day after graduation. She began her
entertainment industry career as an assistant to agent Jay Moloney.


       TOBY EMMERICH (Executive Producer) is President and Chief Operating
Officer for New Line Cinema.
        From 2001 to 2008, he was President of Production and oversaw the most
successful period in company history, thanks to the success of such hits as the Oscar®-
winning “The Lord of the Rings” trilogy; “Wedding Crashers,” which was 2005’s highest-
grossing comedy; “Monster-in-Law”; “The Texas Chainsaw Massacre”; “Elf”; “The
Notebook”; “Hairspray”; and “Sex and the City.” Under the New Line banner, he was
more recently an executive producer on such films as “Journey to the Center of the Earth,”
the holiday comedy “Four Christmases” and “He’s Just Not That Into You.”
       A long-time studio veteran, Emmerich previously served as president of New Line
Music, in addition to working as an accomplished screenwriter and producer who wrote
and produced the New Line sleeper hit film “Frequency.”
       Emmerich attended Wesleyan University. He currently serves on the Board of
Directors for both the Neil Bogart Foundation and the American Cinematheque, and is on
the board of trustees for The Calhoun School in New York City.

       SAMUEL J. BROWN (Executive Producer) has been a development executive
with New Line Cinema since 2002 and currently serves as Vice President of Production for
the studio.
                                                                                         24

       He recently worked as a director of development and creative executive overseeing
and managing the productions of “The Last Mimzy,” “Fracture,” “Rush Hour 3,” “Harold
& Kumar Escape from Guantanamo Bay,” “Appaloosa” and “Pride and Glory.”
       Brown began his career at New Line as an assistant in the development department
before he was promoted to executive assistant to Toby Emmerich. He is a graduate of
Harvard University.


       DARYN OKADA (Director of Photography) marks his third feature collaboration
with Mark Waters on “Ghosts of Girlfriends Past,” having worked with the director on
“Just Like Heaven” and “Mean Girls.” The two also recently wrapped the television pilot
“Eva Adams.” Among his more recent projects are the hit comedies “Baby Mama,”
starring Tina Fey and Amy Poehler, and “Harold & Kumar Escape from Guantanamo
Bay,” which opened on the same weekend to numbers one and two, respectively, at the
box office.
       Okada has compiled more than 30 feature credits, including “Stick It,” “Sex and
Death 101,” “Dr. Doolittle 2” “Anna Karenina,” ‘Captain Ron,” “My Father the Hero,”
“Halloween: H20,” “Lake Placid,” “Cradle 2 the Grave,” “Joe Somebody” and “Wild
Hearts Can’t Be Broken,” as well as the series pilot for “Dawson’s Creek.”
       His work will next be seen in the comedy “The Goods: The Don Ready Story,”
starring Jeremy Piven and James Brolin, and set for an August 2009 release.
       A Los Angeles native, Okada is self-taught in the art of cinematography, beginning
in his teens as a black-and-white still photographer and Super 8 film hobbyist as well as an
avid movie fan. Upon graduating high school at 16, he became a projectionist at East Los
Angeles City College, screening classic films from around the world and donating his time
on short and student films. During the mid-1980s, he had completed two low-budget films
and was shooting commercials when his career was put on hold for several years after he
was injured in a helicopter crash while shooting aerial footage.
       Upon his return to cinematography, Okada photographed several independent films
in the late 1980s and earned an American Society of Cinematographers (ASC) Award
nomination for his work on the 1991 Emmy-nominated CBS telefilm “In a Child’s Name.”
                                                                                         25

          He is currently president of the ASC and a member of the Science and Technology
Council of the Academy of Motion Picture Arts and Sciences.

          CARY WHITE (Production Designer) marks his sixth creative collaboration with
Mark Waters on “Ghosts of Girlfriends Past,” having previously worked with the director
on “Just Like Heaven,” “Mean Girls,” “Freaky Friday” and the VH-1 telefilm “Warning:
Parental Advisory.” The two most recently wrapped work on the pilot “Eva Adams.”
          White’s feature design credits include “Cheaper by the Dozen 2,” for director
Adam Shankman; “American Outlaws,” for Les Mayfield; “Spy Kids” and “The Faculty”
for Robert Rodriguez; “Why Do Fools Fall in Love?” and “Selena” for Gregory Nava;
“White Fang II,” for Ken Olin; “Gettysburg,” for Ron Maxwell; “The Hot Spot,” for
Dennis Hopper; “Silent Tongue,” for Sam Shepard; “The Texas Chainsaw Massacre 2,”
for Tobe Hooper; and “Red Headed Stranger,” for Bill Wittliff.
          He earned Emmy Award nominations for Outstanding Art Direction for his work
on the acclaimed CBS minseries “Lonesome Dove” and “Buffalo Girls,” and a Daytime
Emmy for the ABC Afterschool Special “Andrea’s Story: A Hitchhiking Tragedy.”
Additionally, he received CableACE Award nominations for TNT’s “The Good Old
Boys,” directed by Tommy Lee Jones, and “The Final Verdict,” directed by Jack Fisk.
          Among White’s television credits are the miniseries “Ruby Ridge,” “The
Temptations” and “Son of the Morning Star”; the Lifetime features “Miracle Run” and
“Infidelity”; TNT’s “Two for Texas” and “Crazy Horse”; and the telefilms “The Way She
Moves,” “Beyond the Prairie,” “Soul Collector,” “She Fought Alone,” “The Substitute
Wife” and “A Pair of Aces.” He has also worked on the popular NBC series “Friday Night
Lights,” “A House Divided” and “Jack & Bobby,” and served as production designer on
the HBO Live Special “Willie Nelson’s New Year’s Eve Party.”
          White earned his MA in Radio/Television/Film at the University of Texas at
Austin.

          BRUCE GREEN (Editor) has cut many of Hollywood’s critically acclaimed and
commercial hits. Prior to being tapped to edit “Ghosts of Girlfriends Past,” he collaborated
with director Mark Waters on “Freaky Friday” and “Just Like Heaven.”
                                                                                       26

         Green’s editing credits include the comedies “Baby Mama,” with Tina Fey; “The
Princess Diaries” & “The Princess Diaries 2: Royal Engagement”; “Runaway Bride”; “Big
Momma’s House”; “While You Were Sleeping”; “Three Fugitives”; “Punchline”; and
“Cool Runnings”; dramas, including “Phenomenon” and “The Doctor”; and such action
thrillers as “The Vanishing” and “Young Guns II.” He has also worked as an un-credited
film doctor on many hit films and consulted for producers, directors, and studios.
         Green began as an assistant editor on the seminal adventure films “Raiders of the
Lost Ark,” “Indiana Jones and the Temple of Doom” and “Star Wars.” His editing career
began with the “Friday the 13th” films and “April Fools Day.”
         He is a past Vice President of the Motion Picture Editors Guild, serves on the
Board of the Inner-City Filmmakers Foundation, and has taught at the American Film
Institute.

         DENISE WINGATE (Costume Designer) most recently worked on the action
adventure “Live Free or Die Hard,” for director Len Wiseman, the thriller “Rise,” for
Sebastian Gutierrez, the romantic comedy “Employee of the Month,” and the runaway hit
comedy “Wedding Crashers.” Earlier this year, she re-teamed with director Mark Waters
on the pilot “Eva Adams.”
         Her costume design credits include the feature films “The Sweetest Thing,”
“Radio,” “Novocaine,” “Soul Survivors,” “Blue Streak,” “Judas Kiss,” “The Alarmist” and
“The Last Time I Committed Suicide”; the hit teen comedies “Cinderella Story,” “Cruel
Intentions,” “Cruel Intentions 2” and “She’s All That”; and the television movie “Perfect
Prey.”
         A Southern California native, Wingate began her career designing costumes and
touring with rock headliners The Bangles before segueing into television with work on
such popular series as “Melrose Place,” “Models, Inc.” and “Almost Perfect.”

      ROLFE KENT (Composer) has created the music for more than 40 feature films.
He earned Golden Globe and Critics Choice Award nominations for his score for
Alexander Payne’s acclaimed comedy drama “Sideways,” and also collaborated with
Payne on the films “About Schmidt,” “Election” and “Citizen Ruth.”
                                                                                   27

     Kent counts “Ghosts of Girlfriends Past” as his fifth collaboration with Mark
Waters. Kent also wrote the music for the Waters-directed films “Just Like Heaven,”
“Mean Girls,” “Freaky Friday” and “The House of Yes.” In addition, Kent has repeatedly
worked with director Richard Shepard, scoring the films “The Hunting Party,” “The
Matador,” “Mexico City” and “Oxygen.”
     Kent’s film composing credits also include Burr Steers’ “17 Again”; Neil Burger’s
indie drama “The Lucky Ones”; Mike Binder’s “Reign Over Me”; the satire “Thank You
for Smoking,” directed by Jason Reitman; David Dobkin’s comedy hit “Wedding
Crashers”; “Legally Blonde” and its sequel, “Legally Blonde 2: Red, White & Blonde”;
Neil LaBute’s “Nurse Betty”; and Paul Greengrass’s “The Theory of Flight.”
     In 2007, Kent received an Emmy Award nomination for Outstanding Main Title
Theme Music for the Showtime series “Dexter.”
     Born in England, Kent began his musical career creating compositions for Peter
Morgan’s stage musical “Gross” at the Edinburgh Fringe Festival, a springboard for
authors, composers and performers.

				
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